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6.9/10
Senior Film Conservator
A definitive 6.9/10 rating for a film that redefined the boundaries of cult cinema. Embrassez-moi remains a cornerstone of transgressive art.
If you have a soft spot for grainy, old-school stage adaptations, you might find this weirdly comforting. It’s definitely not for anyone who needs high-octane pacing or complex camera work. Honestly, if you hate people just standing around talking about love for an hour, skip it.
There is something about Embrassez-moi that feels like it’s being performed on a stage even when it’s not. The dialogue is snappy, almost too snappy, like everyone in 1932 France was auditioning for a wit contest.
Tania Fédor has this way of looking at the camera that makes you think she knows exactly how silly the plot is. She’s the anchor, really.
The movie moves along at the speed of a polite conversation. Sometimes, I found myself checking my phone, not because I was bored, but because the rhythm is so distinctly polite. It never really snaps, you know? It just kind of wanders from room to room.
There's a scene near the middle that feels like it lasts for a literal week. They are discussing a letter—or maybe a secret, I lost track—and the camera just sits there. It’s almost hypnotic in its stillness.
I couldn't help but compare the general vibe to something like The Gay Old Bird, which has a similar 'everything is a disaster but in a nice way' energy. It’s light, fluffy, and probably would have been forgotten entirely if not for the fact that we can still pull these things off the shelf.
The ending happens so fast you’ll wonder if they just ran out of film. It’s not profound, it’s not a masterpiece, and it’s not going to change your life. But, it’s a nice window into a time when movies were just filmed theater.
Watch it with a glass of wine and don't try to solve the plot. The plot isn't worth solving anyway. 🍷